Mason, William, portrait, 1899, frontispiece; ancestry of, 3; born at Boston, 3; early musical training, 10; meets Webster and Clay, 11, 12; portrait as a boy, 12; debut as pianist, 13; piano lesson, 14, 15; hints on touch, 16-18; plays with Harvard Musical Association, 18; hears Leopold de Meyer, 19; portrait at eighteen, 20; and "Father Heinrich," 22; meets Miss Webb, 26; sails for Bremen, 27; in Paris, 27; meets Meyerbeer, 28; in Hamburg, 31; goes to Leipsic, 31; first meeting with Liszt, 33; arrives at Leipsic, 34; concert of the Euterpe Society changes his high opinion of German musical taste, 34, 35; begins studies with Moscheles, 36; contrasts Schumann and Mendelssohn, 43; calls on Schumann and secures his autograph, 43, 44; contrasts personalities of Wagner and Schumann, 44; pupil of Moritz Hauptmann, 44; of Ernst Friedrich Richter, 48; acquaintance with Albert Wagner, 48; call on Richard Wagner in Zurich and interview, 48; impressions of Wagner, 50; Wagner writes the dragon motive for him as an autograph, 55; compares Moscheles and Paderewski, 59; first meeting with Joachim and opinion of, 62; hears Schumann's "First Symphony," 63, and pianoforte concerto, 63, 64; comment on, 64; decides to study with Dreyschock in Prague, 65; passport difficulties, 65; opinion of Dreyschock, 66; remarkable pianistic feat of Dreyschock, 67; upper-arm muscles in pianoforte-playing, 69; comment on Leschetitsky's method, 70; acquaintance with Jules Schulhoff, 71; amusing experiences at Prince de Rohan's dinner, 71; goes to Frankfort, 79; meets Beethoven's friend Schindler, 79; London debut, 84; Mendelssohn's influence in England, 84; again calls on Liszt at Weimar, 86; mistaken for wine agent, 87; plays for Liszt, 88; becomes a pupil of Liszt, 89; dines with the Wittgensteins, 95; acquaintance with Raff and Klindworth, 96; first lesson with Liszt, 98; fatigue after, 100; breakfast to Joachim and Wieniawski, 109; opinion of Liszt's playing, 111; M.'s copy of Liszt's "Benediction de Dieu dans la Solitude" and Handel's "E Minor Fugue," 118, 119; attends with Liszt rehearsal of "Tasso," 121; extracts from Weimar diary, 122-125; present at Brahms's first meeting with Liszt and description of, 127; attends Leipsic premiere of "Lohengrin," 133; supper at Ferdinand David's, 134; "Kapellmeister of New York," 135; meets Brahms at Bonn, 136; opinion of Brahms as pianist and composer, 137-141; acquaintance with Cornelius, 145; reminiscences and opinion of Joachim, Vieuxtemps, Ole Bull, Sivori, Ernst, Wilhelmj, Henri Wieniawski, Laub, Cossmann, and Brodsky, 147-151; acquaintance with Remenyi, 93, 151; reminiscences and opinion of Tedesco, Perelli, Sontag, Johanna Wagner, and De la Grange, 153-158; becomes a "Murl"; opinion of Wagner, 159; reminiscences of Raff, 161-164; sees Berlioz conduct, 168;